The fourth episode of this ten-part series produced by Tyne Tees Television and written and presented by architectural historian and broadcaster John Grundy about the building that people have constructed over the centuries to help themselves work, live and enjoy themselves. In this week’s programme John visits, the Greek Revival Belsay Hall in Northumberland not only to admire the beauty of its architecture, but also to explore the estate which includes a 13th century castle, and a 17th...

The fourth episode of this ten-part series produced by Tyne Tees Television and written and presented by architectural historian and broadcaster John Grundy about the building that people have constructed over the centuries to help themselves work, live and enjoy themselves. In this week’s programme John visits, the Greek Revival Belsay Hall in Northumberland not only to admire the beauty of its architecture, but also to explore the estate which includes a 13th century castle, and a 17th century Renaissance house all built by the same family. Over a montage of John Grundy wearing various costumes and maps of the region the opening credits. Title: Grundy Goes… To his Country Estate A phantom car ride along the carriageway to the front entrance of Belsay Hall in Northumberland where Sir Jonathan Grundy, played by presenter John Grundy, stands in his pyjamas and dressing gown bringing in the morning milk bottles. A montage of the estate featuring sheep grazing in a field and a lone swan on a lake. Sir Jonathan now dressed as a member of the landed gentry welcomes the viewer to his estate at Belsay explaining that he has ‘appropriated’ the hall from the owners English Heritage for the purposes of this programme. Standing beside a farm gate John Grundy explains that the hall is now being preserved for the nation by English Heritage and asks the question is it worth it? Over a montage of both archival images, plans of the hall and many of the hall’s architectural features, John tells the story of Sir Charles Monck nee Middleton the builder of the hall whose ideas for its construction in the Greek Doric style came while on his twenty-month honeymoon through Europe between 1804 and 1806. Standing beside one of its large Greek columns in the hall’s entranceway John admires the quality of the workmanship. Inside Sir Jonathan comes down the stairs into the central hall or atrium in his pyjamas and dressing gown taking a jug of milk back upstairs stating that the hall wasn’t built by Charles Monck for cosiness rather an ‘ideal of classical purity.’ Over a montage of atrium John provides details of its architectural style which is based more on Roman design than Greek. Over a montage of other rooms at the hall John explains that there is a restraint that is almost modern. Sitting in an empty room Sir Jonathan asks the viewer to imagine the room when it was beautifully furnished. Walking into one of the cellars under Belsay Hall, John explains how the great houses of the 18th and 19th century had vast areas whose purpose was merely to service the main rooms upstairs and peopled by teams of servants. As he speaks a montage of both the cellars and exterior of the servants’ quarters on the northside of the hall, far away from polite society as possible explains John. However, there is as much social history to learn from these areas as there is on the public areas of the building. Standing over a pigsty Sir Jonathan Grundy asks John to stop his ‘socialist whinging’. Talking about how the pig dropping will be used in the kitchen garden John provides an architectural description of the nearby walled market garden which features a centrally heated wall. Standing overlooking the garden John and Sir Jonathan Grundy discuss both the efficiency of the estate as well its interdependency. Over a montage of one of the estate lodges and its unique architectural features, John describes it being like a ‘miniature temple’. Over a montage of other buildings and houses on the estate John explains that everything was built for selfish reasons because he had both taste and money. As John wonders around the estate, he points out features that were built to a level of perfection the rest of us can only drool about. Sir Jonathan asks John if he has shown the viewers the stables, over a montage of their exterior John explains that the horses had something that was more impressive than the servants’ quarters. With the clock atop the stables ringing, John provides details on some of the architectural features he describes as ‘nobly Greek’ include a lantern atop the clock tower and groves in the single piece of granite flooring inside each stall to help drain away the equine urine. Standing in the doorway of the stables John talks about the unique characteristics of the honey-coloured sandstone used to build both the stables as well much of the estate which include nodules of iron-ore. Title: End of Part One Part Two Over a montage of archival images John talks about how during World War Two the hall was occupied by the army, around the estate markings on walls left aften they were gone. As John walks through the Quarry Garden, he talks about how the house laid empty for 30 years and on a visit to the hall and a walk through the garden he found a palm tree with snow on it. He looks up at the same tree today. Over a montage of the garden built in the quarry where the stone from the house came from, John explains why to him it is a wonderful place. The montage continues of the garden lake and terraces around the hall built later by Sir Charles’s grandson. Walking along a path through the estate, Sir Jonathan Grundy explains that Sir Charles’s ancestors the Middleton’s had lived on the estate since the 13th century. To prove the point, he points up towards the ruins of Belsay Castle. Over views of the tower house John provides details on some of its Medieval architectural features including a Gothic tower. However, as John explains, the amazing thing about Belsay is the range of architectural styles with an early 17th century Renaissance house with pared Tuscan columns built right next door. John explains that this house was a vote of confidence in a peaceful future following the signing of The Act of Union in 1707 between Scotland and England bringing 200 years of peace of prosperity to the Middleton’s ancestors. Details on the expansion and improvements of the estate by Charles Monck’s father William Middleton are discussed over views of some of the builds on the estate including Folly Farm built in the 18th century Gothic style. Looking from the tower of Belsay Castle John explains that it was these farms that were the powerhouse of the estate providing the money needed to pay for the Middleton’s luxuries. However, John is annoyed with their power, money and arrogance as he explains how they moved the main road between Newcastle and Otterburn as well as the old village simply because it was in their way and spoiling their views. He would feel worse if it wasn’t that they did a beautiful job of creating a new village only a mile away. Over views of the village arcade built by Charles Monck, John talks about its architectural features in the Italian rather than Greek style. Walking past a summerhouse, John tells of a rare victory for the villagers who were able to prevent Sir Charles from filling a lake he had built near the village that now leaves the summerhouse high and dry. Returning to the hall members of the Belsay Croquet Club play on what was once the Middleton’s private croquet lawn. Sitting on a deckchair watching the game John answers the question asked at the start; is Belsay Hall worth owning. He explains that you have to ‘love it for its history and social history and sheer extraordinary beauty of its buildings and its landscape.’ A final montage of the hall and estate brings the programme to a close with Sir Jonathan Grundy back in his pyjamas and dressing gown putting the empty milk bottles out at the end of the day. Credit: Written and Presented by John Grundy Title: With special thanks to English Heritage Credit: Camera Mike Parker Sound Paul Graham Dubbing Mixer Charles Heath Electrician Ken Hird Costume Tom Robson Graphics Alan Davidson Title Music John Cook Production Assistant Eileen Brown On-line Editor Howard Beebe Director / Producer Roger Burgess End title: Tyne Tees Television © 1996